and first up on Michael's table are
Christina and her beautiful brooch.

0:02:13

0:02:18

-Christina, thank you for bringing
along this...

-Yes, you're welcome.

0:02:18

0:02:21

-..very intriguing little brooch.

-Is it really?

0:02:21

0:02:23

Can you tell me
where did you get it from?

0:02:23

0:02:25

It was my wedding present in 1965.

0:02:25

0:02:28

-Good grief.

-Yes,

0:02:28

0:02:30

I come from Italy, you see,
so that was...from Italy.

0:02:30

0:02:33

And a friend of the family,
she give it to me

0:02:33

0:02:36

and she said it belonged
to her grandmother.

0:02:36

0:02:38

That's all I know.

0:02:38

0:02:39

Oh, that's marvellous,
so it's come all the way

0:02:39

0:02:41

-from Rome to Dulwich...

-Yes, yes.

0:02:41

0:02:45

..to be on "Flog It!".

0:02:45

0:02:46

-It's actually, it's come further
than that, you know?

-Really?

0:02:46

0:02:49

-Do you know where it was made?

-No idea.

0:02:49

0:02:51

-This is in fact a Chinese brooch.

-Oh, my goodness.

0:02:51

0:02:55

And there are certain factors.

0:02:55

0:02:56

Chinese jewellery is heavily
influenced with filigree work...

0:02:56

0:03:01

-Yeah.

-..and all of this, this ground,
the little flowers and scrolls,

0:03:01

0:03:07

it's all very fine lines of wire
that have worked

0:03:07

0:03:11

and soldered together to form
these decorative motifs.

0:03:11

0:03:14

Amazingly difficult,
technically demanding,

0:03:14

0:03:18

and you can imagine the time
it takes to do something like this.

0:03:18

0:03:21

-Yeah.

-But if you didn't know,

0:03:21

0:03:23

because there are no marks on it,
apart from

0:03:23

0:03:25

-a little silver mark...

-No, the silver, yeah, that's right.

0:03:25

0:03:28

If you didn't know it was Chinese
from that,

0:03:28

0:03:30

you can bet you know it's Chinese
from what's in the middle of it.

0:03:30

0:03:32

-Oh...

-And that is a little immortal peach.

0:03:32

0:03:37

-So the gods would eat these peaches
and become immortal.

-Yeah...

0:03:37

0:03:41

Oh, it's got a lot of history.

0:03:41

0:03:43

And that, I think,
is earlier than the brooch.

0:03:43

0:03:46

I think the brooch
is about 1890-1900,

0:03:46

0:03:50

-but this little carving,
which is out of amethyst...

-Oh.

0:03:50

0:03:54

..I think is probably late 18th,
early 19th century.

0:03:54

0:03:59

-It isn't of marvellous quality...

-No.

0:03:59

0:04:02

..but it's, you know, a rare
little precious item on its own.

0:04:02

0:04:05

-Yeah, wow.

-I mean, fantastic journey,
to have something

0:04:05

0:04:07

-from China to Italy to...

-I know,
and I thought she just give me

0:04:07

0:04:10

something like she wanted
to get rid of it!

0:04:10

0:04:12

Well, you might be forgiven
for thinking it's costume jewellery,

0:04:12

0:04:16

-at a glance...

-Yeah.

0:04:16

0:04:17

-..but it's got all of this history
tied up with it...

-Mmm.

0:04:17

0:04:20

..and all of this craftsmanship.

0:04:20

0:04:23

-The sad thing is, it's not
dramatically valuable.

-Yeah.

0:04:23

0:04:27

That, I think, just as a pretty
brooch, is worth £30-£50

0:04:27

0:04:31

-of anybody's money.

-OK, yeah.

0:04:31

0:04:33

And I think, because of its
sentimental attachments to you...

0:04:33

0:04:36

-Yeah.

-..as a wedding gift,

0:04:36

0:04:38

-I think we've got to put a reserve
of £30 on it.

-Yeah.

0:04:38

0:04:42

But who knows, two people might
see as much in it as I do

0:04:42

0:04:45

and, you know,
it might go on from there.

0:04:45

0:04:47

-Well...

-But you're happy to sell it?

-Yeah, quite happy.

0:04:47

0:04:50

And why NOW have you decided
to part with it?

0:04:50

0:04:53

Don't know, I just look at it,
it's always in the...

0:04:53

0:04:55

inside the jewellery box,
I never do anything with it.

0:04:55

0:04:58

-That's the sad thing with brooches
today.

-I know, I know.

0:04:58

0:05:01

Erm, but I think something
of that craftsmanship might just

0:05:01

0:05:04

-prompt someone to feel, "I'll buy it
and wear it."

-Well, you never know.

0:05:04

0:05:08

Even if it's just to go to

0:05:08

0:05:09

-the supermarket on a Saturday.

-That's right.

-Who knows?

0:05:09

0:05:11

But it's a lovely thing
and we'll just see on the day.

0:05:11

0:05:14

-Lovely, I look forward to it.

-Thank you.

-Thank you.

0:05:14

0:05:16

Well, let's hope Christina's brooch
catches the eye of someone

0:05:16

0:05:19

who will wear it with pride.

0:05:19

0:05:20

Now, over on Kate's table, Karen has
brought in an unusual bronze figure.

0:05:24

0:05:29

You've brought this fantastic
figurine in for me.

0:05:29

0:05:31

What can you tell me about it?

0:05:31

0:05:33

-That it belonged,
or belongs to my mother...

-Mm-hmm.

0:05:33

0:05:37

..and she's had it
since the late 1920s,

0:05:37

0:05:40

and it came from a gentleman
that used to be a doctor,

0:05:40

0:05:44

and my mum used to go and visit him
with her mother,

0:05:44

0:05:48

and he knew that she liked it,
he used to let her play with it,

0:05:48

0:05:51

-and then he gave it to her.

-Right.

-And it's always sat,

0:05:51

0:05:53

as I've been a kid,
it's sat on the side, indoors.

0:05:53

0:05:56

-Just on a shelf somewhere?

-Just on a shelf somewhere.

0:05:56

0:05:58

We were always told not to touch it,
it's very heavy.

0:05:58

0:06:01

-It's an interesting thing. I mean,
do you like it?

-Erm...yes and no.

0:06:01

0:06:05

-Yeah, it's a funny thing.

-It's...I don't know...

0:06:05

0:06:08

There's something about it,
but I'm not quite sure that I...

0:06:08

0:06:11

-I'd give it house room, myself.

-OK.

-KAREN GIGGLES

0:06:11

0:06:13

Well, do you know who made it,
first of all?

0:06:13

0:06:16

I know it's Bergmann
but only because of the programme,

0:06:16

0:06:18

-and having seen...

-Ah-ha!
We've popularised Franz Bergmann!

0:06:18

0:06:21

-Yeah.

-Excellent.
Well, it is exactly that,

0:06:21

0:06:23

chap called Franz Bergmann, and
on the bottom, you've got the mark,

0:06:23

0:06:26

-the B inside a little urn, which is
the mark for Franz Bergmann.

-Yeah.

0:06:26

0:06:29

Erm, he did various things,

0:06:29

0:06:31

he's known for his slightly risque,
sort of, naughty erotic ladies,

0:06:31

0:06:36

so bronze, very Art Nouveau,
Art Deco kind of ladies.

0:06:36

0:06:39

This is not one of those ones.

0:06:39

0:06:41

He did a series of, sort of,
North African, Arab type scenes

0:06:41

0:06:44

and this is one of those. It's
somebody like a Berber tribesman,

0:06:44

0:06:47

or somebody like that,
a North African.

0:06:47

0:06:50

Basically, with his camel gun

0:06:50

0:06:52

-or something like that.

-Yeah,
like a rifle, isn't it?

-And his...

0:06:52

0:06:55

-his dirk or his curved sword
behind him.

-Yeah.

0:06:55

0:06:57

-And traditional dress.

-Mm-hmm.

0:06:57

0:06:59

It's quite fun. I mean, it's not
going to be everyone's taste.

0:06:59

0:07:02

-No.

-You don't particularly like it.
Your mum obviously liked it.

0:07:02

0:07:05

-Yeah.

-And was drawn to it as a child.

-She's probably got memories, yeah.

0:07:05

0:07:08

-OK.

-How old do you think it is?

-Oh, about 1920s.

-Right, OK.

0:07:08

0:07:11

About the same time
as the naughty figurines,

0:07:11

0:07:13

but a completely different thing,

0:07:13

0:07:15

and he was a sculptor,
you can tell that in the really...

0:07:15

0:07:17

-There's a lot of detail in it,
isn't it?

-Yeah, it's very well done.

0:07:17

0:07:20

I mean, that's why he's very
collectable, because he is the best.

0:07:20

0:07:24

-Basically, condition-wise, I'm going
to have a moan at this point.

-Yeah.

0:07:24

0:07:27

And say, you know, obviously,

0:07:27

0:07:29

he's got a bit of a wonky barrel of
his gun.

0:07:29

0:07:31

And also, you can see
it's a cold-painted bronze,

0:07:31

0:07:33

-so effectively,
it was a cast bronze...

-Yeah.

0:07:33

0:07:36

..that then they let cool,
they painted and all of these chips

0:07:36

0:07:38

and this wear is where the
original paint over the top

0:07:38

0:07:41

-has chipped back to the bronze
underneath.

-Right, right.

0:07:41

0:07:43

That's why it's so heavy,
as well, because it is a bronze,

0:07:43

0:07:46

-and it's a very dense thing.

-It's solid, right.

0:07:46

0:07:48

So do you have any idea price-wise
what you think it is worth?

0:07:48

0:07:51

I thought about 200-400.

0:07:51

0:07:54

Oh... Oh...

0:07:54

0:07:56

That's fairly, that's fairly...

0:07:56

0:07:59

That's fairly good.

0:07:59

0:08:00

I think the condition might be
a bit of an issue for this one.

0:08:00

0:08:03

-Yeah? No, that's fair enough.

-Because...it can...

0:08:03

0:08:05

This can be straightened out
but there's always a chance

0:08:05

0:08:07

-it's going to break if
somebody does it.

-It'll snap.

0:08:07

0:08:09

You've got to be fairly gutsy
to try to undo it,

0:08:09

0:08:12

-and I think that's what's going to
affect the buying of this.

-Right.

0:08:12

0:08:14

-Erm...I would have said maybe
the lower end of your estimate.

-OK.

0:08:14

0:08:18

-So maybe 200-300 is doable
in this condition.

-OK.

0:08:18

0:08:21

-Reserve, though,
I would put a reserve of 150.

-OK.

0:08:21

0:08:24

-Just to protect it.

-Yeah.

-So that if it doesn't make it,

0:08:24

0:08:26

-we'll make it a firm reserve at 150.

-Yeah, OK.

0:08:26

0:08:28

Hopefully, between 200 and 300.

0:08:28

0:08:30

Yeah, that would be good.

0:08:30

0:08:32

It's time for a bit of art,

0:08:35

0:08:36

and I found a curious painting
brought in by Pat.

0:08:36

0:08:39

Pat, I don't know
who Clifford Frost was,

0:08:40

0:08:43

but I think he had a jolly good
sense of humour.

0:08:43

0:08:45

-I think so as well.

-Don't you?

-Yes, I do.

0:08:45

0:08:47

He sums up the very Englishness
about the, sort of, 1930s and 1940s,

0:08:47

0:08:52

of early British 20th-century
modern. Don't you think so?

0:08:52

0:08:55

Yes, I do, yeah.

0:08:55

0:08:56

It's sort of three guys in the pub,
with their pints,

0:08:56

0:08:58

looking at the marrow, saying...

0:08:58

0:09:00

"Hmm...mine's bigger than yours."
That kind of thing.

0:09:00

0:09:03

-All gardeners, probably.

-Sorry?
All gardeners, yes.

-All gardeners.

0:09:03

0:09:06

And look at this chap,
looking down, going...

0:09:06

0:09:09

-HE LAUGHS

-I think it's fabulous,

0:09:09

0:09:12

absolutely fabulous.

0:09:12

0:09:14

It's just such a shame there's
no relative works that have sold.

0:09:14

0:09:19

I can't find any form on the artist,
I don't know any information, so...

0:09:19

0:09:23

I really think he's
a very, very competent amateur...

0:09:23

0:09:27

-Very possibly.

-..which does
devalue it slightly.

-Yes, yes.

0:09:28

0:09:32

Where did the painting come from?

0:09:32

0:09:34

It belonged to my father, actually,

0:09:34

0:09:36

and he was a collector, actually,
of the 1930s, '40s paintings, and...

0:09:36

0:09:41

I don't know where he got it from
before that.

0:09:41

0:09:44

When you talk about
early 20th-century modern,

0:09:44

0:09:46

you look at artists with humour,
British School.

0:09:46

0:09:48

You're looking at people like
Stanley Spencer and...

0:09:48

0:09:50

-you know, from the guy from Cookham.

-Yeah.

0:09:50

0:09:52

-And you see, he paints people in his
local pub, in his village.

-Right.

0:09:52

0:09:55

And there's a sense of humour
with a sense of religion.

0:09:55

0:09:58

I think what you've got here is
a sense of humour with

0:09:58

0:10:00

a sense of gardening, but still with
real people down your local pub.

0:10:00

0:10:03

-Yeah, yeah.

-It's brilliant,
absolutely brilliant.

0:10:03

0:10:06

-Any idea of value, though?

-Maybe about £20.

0:10:06

0:10:10

Ha! Oh, I think it's worth
an awful lot more than that.

0:10:10

0:10:12

There's nothing on the back,
absolutely nothing on the back.

0:10:12

0:10:16

I think
it's one of those classic 80-120s,

0:10:16

0:10:19

-and see what happens.

-Right, OK.

0:10:19

0:10:20

But if we put a reserve on at £60,

0:10:20

0:10:22

-we know we're going to sell it.

-Yup, right, OK.

0:10:22

0:10:25

It could struggle,
and get away at the bottom end,

0:10:25

0:10:27

or it could surprise us all
and get away at the top end

0:10:27

0:10:30

-and do 120-160 or 180.

-That would be nice, yeah.

0:10:30

0:10:33

Well, I'm up for it if you are.

0:10:33

0:10:35

Yes, definitely, yeah,
I'd be very happy.

0:10:35

0:10:37

Now, I've found something
really special

0:10:39

0:10:41

and I want to take it somewhere
quiet to have a closer look.

0:10:41

0:10:43

Come with me, Annette.

0:10:43

0:10:45

We've left the hustle and bustle
of the valuation in the next room.

0:10:45

0:10:49

I've brought Annette into the
library because...

0:10:49

0:10:52

You brought in a book to show me,

0:10:52

0:10:53

so I thought I'd show you
several thousand.

0:10:53

0:10:56

-Wonderful.

-But I bet there's not
a book like that in here.

-No.

0:10:56

0:11:00

So tell me
all about this autograph album.

0:11:00

0:11:02

-I saw Paul McCartney quite often,
as I lived close by...

-Uh-huh.

0:11:02

0:11:06

-..and I was a big Beatle fan
and still am.

-Were you?

0:11:06

0:11:10

-Can I have a look?

-Yes.

0:11:10

0:11:11

Oh, look at this, this is lovely.

0:11:11

0:11:15

Oh, look, there's Jane Asher.

0:11:15

0:11:16

-She was engaged to Paul McCartney,
wasn't she?

-She was, yes.

0:11:16

0:11:19

-So you've got all The Beatles.

-I have.

0:11:19

0:11:21

-All on separate pages, though.

-Yes.

0:11:21

0:11:23

But it's the photographs,
did you take all these photographs?

0:11:23

0:11:26

I did take all the photographs.

0:11:26

0:11:28

-So you actually got
behind the scenes.

-Yes.

0:11:28

0:11:30

Lots of hanging around,
lots and lots of hours' worth

0:11:30

0:11:32

-of just waiting and waiting.

-Yes,
it was, yes, but he was worth it.

0:11:32

0:11:35

-But what a reward, what a reward!

-I know.

-Not just Paul McCartney

0:11:35

0:11:38

-but John Lennon, George Harrison
and Ringo.

-John and...yeah.

0:11:38

0:11:42

-Yes.

-And the wives.

-That's right.

0:11:42

0:11:45

-You're a good photographer, as well.

-Thank you.

0:11:45

0:11:47

I mean, you've captured the image,
a moment back in time in the 1960s,

0:11:47

0:11:51

-which is, it's just so evocative,
isn't it?

-Hmm.

0:11:51

0:11:54

-It's so rock and roll,
it really is.

-Yeah.

0:11:54

0:11:56

Is this something
you're thinking of selling?

0:11:56

0:11:58

-No.

-I couldn't twist your arm,
could I?

-No, you couldn't.

0:11:58

0:12:01

Look, Ringo Starr, the drummer.

0:12:01

0:12:04

This, this is priceless.

0:12:04

0:12:06

This is a wonderful piece of
Beatles memorabilia and in ten years

0:12:06

0:12:10

of doing "Flog It!", we've seen
a lot of Beatles memorabilia.

0:12:10

0:12:13

Lots of autographs but nothing
as comprehensive as this.

0:12:13

0:12:17

And those four autographs
on one sheet of paper, you're going

0:12:17

0:12:20

to fetch around two grand for,
with provenance, £3,000,

0:12:20

0:12:23

but what you've got here...

0:12:23

0:12:25

What do you think this is worth?

0:12:25

0:12:28

Don't know.

0:12:28

0:12:30

If I said to you around
£4,000-£5,000,

0:12:30

0:12:32

would you be really happy?

0:12:32

0:12:33

-I would be very happy.

-Yeah, well, that's what it would be.

0:12:33

0:12:36

-Make sure you get this insured,
won't you?

-I will.

0:12:36

0:12:38

-Whatever you do, don't lose it.

-I know, I won't.

-Oh, gosh.

0:12:38

0:12:41

-It's not just that, it's all
your memories.

-It's so old, as well.

0:12:41

0:12:44

I'm ever so pleased you're not
selling it. Do you have kids?

0:12:44

0:12:47

-I do, yeah.

-So that's going to be
their inheritance.

-That's right.

0:12:47

0:12:50

Well, thank you very much
for bringing that in today.

0:12:50

0:12:53

Thank you very much.

0:12:53

0:12:54

That was such a treat.

0:12:54

0:12:55

I'm so pleased Annette is hanging
onto that book

0:12:55

0:12:58

for her kids to enjoy.

0:12:58

0:12:59

Back in the hall,

0:13:00

0:13:02

and Michael's honed in on some
silver that Josephine's brought in.

0:13:02

0:13:06

Always delighted to see
a bit of silver on "Flog It!".

0:13:06

0:13:10

-Good.

-These are wonderful.

0:13:10

0:13:12

It's a christening bowl and spoon,
so... Are they yours, or...?

0:13:12

0:13:15

-Yes, yes, they're mine, yeah.

-When were they given to you?

0:13:15

0:13:19

Erm...when I was christened.

0:13:19

0:13:21

-It's indiscreet of me to ask,
isn't it? I know...

-It's...

0:13:21

0:13:25

So you were given them
for your christening, so it's

0:13:25

0:13:29

strange that they don't have more
of a sentimental attachment to you.

0:13:29

0:13:32

Well, it's just that my daughter
and son are not terribly keen.

0:13:32

0:13:36

So I just thought I would come
and see what it was worth,

0:13:36

0:13:40

and see if I could sell it.

0:13:40

0:13:42

Very sensible.
Well, what we've got, it's unusual,

0:13:42

0:13:45

because they were obviously bought
second-hand for you,

0:13:45

0:13:49

and what we've got is we've got
an earlier spoon with a later bowl.

0:13:49

0:13:52

-Oh, right.

-So if we look at the spoon, first,

0:13:52

0:13:55

this might have been
from a three-piece christening set,

0:13:55

0:13:59

-so it's usual to get the spoon,
knife and fork.

-All right.

0:13:59

0:14:02

And because it's
a very elaborate pattern,

0:14:02

0:14:04

normally the hallmarks
would be struck

0:14:04

0:14:07

towards the top of the stem, but
that would damage the design,

0:14:07

0:14:10

so what we've done in this case

0:14:10

0:14:12

-is marked it on the edge
of the back of the bowl.

-Oh, right.

0:14:12

0:14:15

And if I huff on it, and I only do
that to reduce the glare

0:14:15

0:14:18

when I look at the marks, we can see
that it was made in London in 1878.

0:14:18

0:14:25

And there's a maker's mark

0:14:25

0:14:27

that's always good to see
on a spoon, "GA" -

0:14:27

0:14:30

George Adams
for Chawner & Company.

0:14:30

0:14:32

And they're one of the best
silversmiths producing

0:14:32

0:14:36

-flatware in the 19th century.

-Oh, I see.

0:14:36

0:14:39

This is somewhat later,
and from a different assay office,

0:14:39

0:14:44

-and that's got the mark
of Atkin Brothers...

-Oh.

0:14:44

0:14:47

-..and that was made in Sheffield
in 1901.

-Oh, I see.

0:14:47

0:14:51

-So Victorian and just, JUST
Victorian, early Edwardian.

-Yeah.

0:14:51

0:14:56

Really, they're two separate items.

0:14:56

0:14:58

We'll put them in together but
they don't relate to one another.

0:14:58

0:15:02

-Oh, right.

-That spoon is worth £15-£25.

0:15:02

0:15:06

-Oh, right.

-Probably in its silver
weight alone, actually, these days.

0:15:06

0:15:11

The bowl is the more commercial
thing,

0:15:11

0:15:13

and I think the two together
would be £100-£150 at auction.

0:15:13

0:15:18

-Yeah.

-And I think we have
a little bit of discretion,

0:15:18

0:15:21

just a little bit on the reserve,

0:15:21

0:15:23

and, say, put a reserve of £90.
Would that be OK?

0:15:23

0:15:26

Erm...well, I'd like, really,
to put it a bit higher

0:15:26

0:15:29

because they do take commission
as well,

0:15:29

0:15:31

-don't they?

-So you'd like it
at the 100, would you?

0:15:31

0:15:33

Oh, yes, I wouldn't like it
to go for less than 100.

0:15:33

0:15:35

Right, no,
I hear what you're saying.

0:15:35

0:15:37

-Well, we'll put 100 fixed on it.

-Yeah.

0:15:37

0:15:39

And we'll hope that somebody else
is looking,

0:15:39

0:15:41

well, two people are looking for
christening gifts at the auction.

0:15:41

0:15:44

-Yeah.

-And we won't know, we might
do very much better than that.

0:15:44

0:15:47

-OK.

-So you're happy to do that?

0:15:47

0:15:49

-Yes, I am.

-That's marvellous,
we'll put them into the auction

0:15:49

0:15:51

and hope for a marvellous result.

0:15:51

0:15:53

-OK, thank you.

-Thank you.

-Thanks.

0:15:53

0:15:55

Some level-headed thinking there
from Josephine,

0:15:55

0:15:58

and I think she made a good call
with that reserve.

0:15:58

0:16:01

This isn't going to be
a silent film,

0:16:25

0:16:27

and, yes, today we are filming in
glorious colour and high-definition.

0:16:27

0:16:31

I'm also proud to say that I've been
part of the British film industry.

0:16:31

0:16:34

For a couple of years after
leaving college,

0:16:34

0:16:36

I worked at Pinewood Studios
in the prop and set department,

0:16:36

0:16:39

so I know what goes on,
all the hard work behind the scenes.

0:16:39

0:16:42

That's why I'm pleased to say
that this creative work,

0:16:42

0:16:45

produced by the major production
companies and the independent

0:16:45

0:16:48

filmmaker, is appreciated
by the British Film Institute.

0:16:48

0:16:52

But firstly, I should explain
what it does and why I'm here.

0:16:52

0:16:55

In 1933, the British Film Institute
was launched,

0:16:57

0:17:00

followed two years later
by an archive that would save films,

0:17:00

0:17:04

and years later,
television programmes,

0:17:04

0:17:06

as an important part
of our cultural heritage.

0:17:06

0:17:09

A large hi-tech cinema
was built on London's Southbank,

0:17:12

0:17:16

to show films
for 1951's Festival of Britain,

0:17:16

0:17:19

and when the temporary cinema
was demolished,

0:17:19

0:17:21

a new one was built in 1957,
under Waterloo Bridge.

0:17:21

0:17:27

It was visited over the years
by famous names

0:17:27

0:17:29

like director John Ford,
and actor Sir Laurence Olivier.

0:17:29

0:17:32

In 2007, a revamped BFI Southbank
building threw open its doors,

0:17:36

0:17:41

revealing a state-of-the-art
treasure house of cinema.

0:17:41

0:17:45

And because of all the famous
connections in the film world,

0:17:45

0:17:48

it's inevitable that other media
memorabilia is going to

0:17:48

0:17:52

end up here,
being archived at the BFI.

0:17:52

0:17:55

Things like this,
what I've got in front of me -

0:17:55

0:17:58

promotional packages, scripts,
film posters.

0:17:58

0:18:00

You name it, they've got it.

0:18:00

0:18:02

This is a nice selection.

0:18:02

0:18:03

Look, The 39 Steps, that's
one of my mother's favourite films,

0:18:03

0:18:06

and I've actually watched that
in black and white with her.

0:18:06

0:18:09

Here is a promotional package
from one of Alfred Hitchcock's

0:18:09

0:18:11

silent movies,
and all this stuff, in general,

0:18:11

0:18:15

is what people would have just
thrown away.

0:18:15

0:18:17

Over 1,000 films a year
are screened here.

0:18:35

0:18:37

It's also the location
of the BFI's London Film Festival.

0:18:37

0:18:41

Now, there are a team
of projectionists that work here,

0:18:41

0:18:44

and they're skilled in using
real film reels, as well as

0:18:44

0:18:47

the newer digital technology -
projectionists like Russ here.

0:18:47

0:18:50

-Russ, hello.

-Hiya.

0:18:50

0:18:52

-Pleased to meet you.

-Nice to meet you.

-What are you up to?

0:18:52

0:18:54

-You lacing up a projector?

-Yes,
yeah, just running a film, 1930s.

0:18:54

0:18:58

All of these films are shot in 35mm?

0:18:58

0:19:01

Most of the stuff we run is 35,

0:19:01

0:19:02

-sometimes we get the larger 70mm.

-Yeah.

0:19:02

0:19:05

And also we get a 16mm sometimes,

0:19:05

0:19:07

which is a rarity,
but it's more the arthouse kind of...

0:19:07

0:19:10

-Is it always as noisy as this?

-Yeah, sometimes noisier.

0:19:10

0:19:14

Sometimes you have two projectors
going, maybe more,

0:19:14

0:19:16

and it can actually be
louder than that.

0:19:16

0:19:18

-So it's a noisy job, but you get used
to it.

-Yeah, I bet you do.

-Yeah.

0:19:18

0:19:21

Are some of the films dangerous?

0:19:24

0:19:25

Yes, we do run seasons with nitrate,
and certain things like that.

0:19:25

0:19:28

Nitrate is a flammable substance
that the light itself

0:19:28

0:19:31

of the projector can make it catch
fire and burn the building down,

0:19:31

0:19:34

-so we have to be very cautious.

-Are they kept here?

0:19:34

0:19:36

No, they're kept in Berkhamsted,

0:19:36

0:19:38

where the BFI has an external,
sort of, vault that looks after them

0:19:38

0:19:41

and has them in chilled temperatures

0:19:41

0:19:42

and a better environment
for films in general.

0:19:42

0:19:45

-I'll let you get back to work.

-All right,

0:19:45

0:19:46

thank you, nice to meet you.

0:19:46

0:19:48

We've seen how the films are shown,
but to find out how films

0:19:50

0:19:54

are selected, I'm meeting up with
Simon McCallum, one of the curators.

0:19:54

0:19:58

Simon, what's your role here?

0:20:00

0:20:02

What my role is
is Mediatheque Curator,

0:20:02

0:20:04

one of which we've got
here at BFI Southbank,

0:20:04

0:20:06

and we look after
nearly a million films

0:20:06

0:20:09

and TV programmes in the archive,
so a big aim for us is to get

0:20:09

0:20:12

more of those accessible to, sort
of, a wider variety of audiences.

0:20:12

0:20:16

-How do you go about choosing what
goes on the archive?

-It's tricky.

0:20:16

0:20:20

It's a very complex process,
because the curators will

0:20:20

0:20:23

work together with their individual
specialisms to decide what

0:20:23

0:20:26

the particular gaps might be
in our collections, for instance.

0:20:26

0:20:29

We actively acquire new material,
as well,

0:20:29

0:20:31

so it's not just caring for, sort
of, past films and TV programmes.

0:20:31

0:20:35

So we'll actively acquire
all new British feature films,

0:20:35

0:20:38

-for instance, so...

-That's absolutely marvellous.

0:20:38

0:20:41

-Now, you've got a few clips to
show me, haven't you?

-Yeah, we have.

0:20:41

0:20:43

The first one's actually one of

0:20:43

0:20:45

the earliest British films
in the archive,

0:20:45

0:20:47

and it's a film of
Blackfriars Bridge in 1896.

0:20:47

0:20:50

So this is only...only, sort of,
a year or so after the...

0:20:50

0:20:53

after, sort of,
cinema really came about.

0:20:53

0:20:55

What we're seeing here is people
making their way to work.

0:21:01

0:21:03

So you can see the advertising
on the...on the side of the trams.

0:21:03

0:21:08

Look at the people looking
into the camera, thinking,

0:21:08

0:21:10

"What's that chap doing?"

0:21:10

0:21:11

One of the things I find interesting
is that people are...

0:21:11

0:21:14

It's a novelty for them to be seeing
this big clunky movie camera.

0:21:14

0:21:16

Even today, if you think...

0:21:16

0:21:18

They still stop and stare
when we're filming.

0:21:18

0:21:20

-Exactly, people see a film crew,
things like that.

-That's marvellous.

0:21:20

0:21:23

-That's our heritage captured.

-It is.

0:21:23

0:21:25

And it's so much more...visual
and...

0:21:25

0:21:27

Yeah, you're there, aren't you?

0:21:27

0:21:28

Yeah, indeed, it's really important
for social history to see

0:21:28

0:21:31

what people were wearing and
actually coming to life like that.

0:21:31

0:21:34

-Yes, yeah. What's next?

-The next clip,

0:21:34

0:21:36

we're heading into the heroic age
of polar exploration, so we've got

0:21:36

0:21:40

one of our major new restorations
called The Great White Silence.

0:21:40

0:21:43

Now, this was footage
shot by Herbert Ponting

0:21:48

0:21:50

-of the British Antarctic Expedition
in 1910 to 1913...

-Right.

0:21:50

0:21:54

..led, of course, by Captain Scott,
who came to a tragic end.

0:21:54

0:21:58

And the footage was finally,
sort of,

0:21:58

0:22:00

edited together into a feature film
in the '20s,

0:22:00

0:22:02

and, sort of, with added
lovely tinting and tonings.

0:22:02

0:22:06

So what we're seeing here is the,
sort of, before shots,

0:22:06

0:22:08

before the tinting was recreated.

0:22:08

0:22:11

There we go.

0:22:11

0:22:13

So the colour's actually been
restored from the original notes

0:22:13

0:22:16

left by Ponting, so it's sort
of been recreated as per his...

0:22:16

0:22:20

you know, his instructions.

0:22:20

0:22:22

God, look at this, it's fascinating.

0:22:22

0:22:23

It's been a huge boost for us

0:22:23

0:22:26

to be able to get this film
back out there to people,

0:22:26

0:22:28

cos this is such an iconic part of

0:22:28

0:22:30

-British heritage, British history.

-It's incredible, incredible.

0:22:30

0:22:33

Lots of penguins.
They're very popular.

0:22:35

0:22:39

And finally, you've got a bit of
comedy to show us.

0:22:44

0:22:47

Yes, we've got some light relief
now.

0:22:47

0:22:48

-It's one of my favourite titles
in the...

-What is it?

0:22:48

0:22:51

..the whole archive, actually.
It's called Daisy Doodad's Dial,

0:22:51

0:22:53

-from 1914.

-OK.

0:22:53

0:22:55

Starring and written and directed
by a lady, Florence Turner,

0:22:55

0:22:59

who was a Hollywood star and
came over to Britain in the 1910s,

0:22:59

0:23:03

and it's basically
a girning competition.

0:23:03

0:23:05

-Obviously, dial is slang for the
face, so, as we will see...

-OK.

0:23:05

0:23:09

She was really quite a pioneer,
Florence Turner, as well,

0:23:26

0:23:28

because she went on to work with
Buster Keaton back in Hollywood,

0:23:28

0:23:32

-too. She was quite a big star.

-Those are big stars.

0:23:32

0:23:34

-You can learn so much from these
archives, so much.

-You really can,

0:23:37

0:23:40

and it's still funny 100 years
later, something like that.

0:23:40

0:23:43

Well, can I say, thank you very much

0:23:43

0:23:44

-for my own private viewing.

-Oh, my pleasure.

0:23:44

0:23:47

Well, what a privilege to see
those pieces of British cinema.

0:23:51

0:23:53

It just goes to show imagination

0:23:53

0:23:55

and creativity have always been
strong, it's just technology

0:23:55

0:23:59

and what it allows us to do
that's constantly changing,

0:23:59

0:24:02

pushing those creative boundaries.

0:24:02

0:24:04

For me, British film has always been
close to my heart and it's

0:24:04

0:24:07

been a real treat to see what the
British Film Institute has to offer.

0:24:07

0:24:11

We've got our first four items.

0:24:22

0:24:25

Now we're taking them off
to the sale.

0:24:25

0:24:27

Our items are going under the hammer

0:24:32

0:24:33

at Greenwich Auctions
in South East London.

0:24:33

0:24:36

Right, it's auction time. I'm
getting excited - I hope you are.

0:24:38

0:24:42

The saleroom is already filling up
with eager bidders.

0:24:43

0:24:46

I met up with auctioneer Robert Dodd
on the preview day

0:24:46

0:24:50

'and asked him what he thought
about Josephine's bowl and spoon.'

0:24:50

0:24:54

Josephine's family silver.

0:24:54

0:24:56

Now, she's selling this
because her son and her daughter

0:24:56

0:24:58

don't really want it.

0:24:58

0:25:00

Erm, we've got £100-£150
on the two, as one lot.

0:25:00

0:25:05

Well, I spoke to the lady again,

0:25:05

0:25:06

and I said I'm going
to split them up,

0:25:06

0:25:09

-only because they are
two completely different eras.

-Mmm.

0:25:09

0:25:12

-Also, I've got people
who are collectors of spoons...

-Yes.

0:25:12

0:25:16

-..who I don't think would pay £100
for that spoon.

-No.

0:25:16

0:25:19

And I've also got people
who collect Edwardian silver,

0:25:19

0:25:22

or whatever it might be,

0:25:22

0:25:23

erm, and I think it gives the vendor
more of a chance

0:25:23

0:25:28

of it hitting that reserve
and hopefully going over,

0:25:28

0:25:30

by just simply separating them.

0:25:30

0:25:32

-Mmm.

-And so,
I'm confident in these two.

0:25:32

0:25:34

So am I.
I'm confident about that one.

0:25:34

0:25:36

-I think you've done the right thing.

-Thank you.

0:25:36

0:25:39

Well, we'll find out in a bit
what the bidders think.

0:25:39

0:25:42

Auctioneer Robert has tweaked
the estimates on our items,

0:25:42

0:25:45

to give them
the best chance of selling.

0:25:45

0:25:47

Gone! Selling for £100.

0:25:47

0:25:49

And now it's our first item...

0:25:49

0:25:51

Going under the hammer right now,
we've got a Chinese brooch,

0:25:51

0:25:54

Canton period,
it belongs to Christina

0:25:54

0:25:56

and it was a wedding present.

0:25:56

0:25:58

-Long time ago.

-1965.

-Yes.

0:25:58

0:26:00

-That's what I read in my notes!

-Yeah, correct.

0:26:00

0:26:02

Fingers crossed we get the top end,
and a little more.

0:26:02

0:26:05

Well, I know brooches
are out of fashion

0:26:05

0:26:06

-but it's just so much work.

-I know.

-Yeah.

0:26:06

0:26:08

-You never know,
might be lucky day.

-No, no.

0:26:08

0:26:10

We might be lucky, yeah. Fingers
crossed, here we go. Let's find out.

0:26:10

0:26:13

Lot 355, late Victorian
Chinese filigree brooch,

0:26:15

0:26:20

and the bid's with me,
straight away at £40.

0:26:20

0:26:24

-Christina, we're straight in.

-Oh, good.

-Looking for 42 on this,

0:26:24

0:26:26

I've got 40 on it.

0:26:26

0:26:28

Looking for 42, 45, 48.

0:26:28

0:26:30

50. 5, I need.

0:26:30

0:26:31

55. 60, with me.

0:26:31

0:26:33

It's the quality of it, it's just...
Screams it.

0:26:33

0:26:36

Looking for 70 on the brooch,

0:26:36

0:26:37

I've got 65, are we all done?

0:26:37

0:26:39

£70, there, right now.

0:26:39

0:26:40

-They like it.

-Oh, yeah, that's good.

0:26:40

0:26:42

Are we all done?
Last time on this brooch.

0:26:42

0:26:45

Selling at £70...

0:26:45

0:26:47

-Oh, good, I'm pleased.

-Yes, £70, that's good, isn't it?

0:26:47

0:26:50

-Thank you very much.

-It was worth every penny of that.

0:26:50

0:26:52

-Lovely, thank you.

-It's got the peach
of immortality in it.

-I know.

0:26:52

0:26:55

Maybe the buyer thinks he's
going to live forever. I don't know.

0:26:55

0:26:58

-Thanks for coming in.

-Thanks.

0:26:58

0:27:00

-Thoroughly enjoyed meeting you.

-Nice to meet you.

0:27:00

0:27:02

What a great result for Christina.

0:27:02

0:27:04

Let's see if Josephine's
silver items could do as well.

0:27:04

0:27:08

Next up, we've got some silver -
a christening bowl and the spoon.

0:27:08

0:27:11

They came in as one lot,

0:27:11

0:27:12

and they belonged to Josephine,
who's right next to me.

0:27:12

0:27:14

-Hello, Josephine.

-Hello.

0:27:14

0:27:16

Look, the auctioneer has split
the lot, so the christening bowl

0:27:16

0:27:18

-is coming out first
and then the spoon afterwards.

-Yes.

0:27:18

0:27:22

Hopefully, going to get all the
money in the first lot.

0:27:22

0:27:24

-Yes, hope so.

-We've got £100 reserve.

0:27:24

0:27:26

-Ready?

-Yes, sure.

-This is it.

0:27:26

0:27:28

Lot 310 is the early 20th-century
hallmarked silver bowl.

0:27:29

0:27:33

Fingers crossed.

0:27:33

0:27:34

And the bid's with me at £100,
on this.

0:27:34

0:27:38

-Straight in.

-Straight in,
we've gotten our reserve.

-Yeah.

0:27:38

0:27:41

And I'll take that bid at 100,
looking for 110. Are we all done?

0:27:41

0:27:45

Last time, on this silver pot.

0:27:45

0:27:47

At £100...

0:27:47

0:27:49

-Sold.

-I hate to say it, but it's
down to the scrap, I'm afraid.

0:27:49

0:27:52

-It is, that one is, isn't it?

-Yup.

-OK, and now the spoon.

0:27:52

0:27:56

Lot 311, Victorian hallmarked silver
Art-Nouveau-style tablespoon

0:27:57

0:28:02

with a fine relief. Lovely little
lot. Bid's with me at £12.

0:28:02

0:28:05

Looking for 15, 18, 20 with me.

0:28:05

0:28:07

Looking for 22. Are we all done?

0:28:07

0:28:09

Selling at £20...

0:28:09

0:28:11

£120. Got to be happy with that.

0:28:11

0:28:13

-OK, yes, that's fine.

-Yes, yes.

0:28:13

0:28:16

Silver of the 20th century, now,
it lacks a bit of excitement

0:28:16

0:28:19

-cos we can value it
almost so precisely.

-Yeah.

0:28:19

0:28:21

So, well, you know, the reserve
was its price, and it's met that.

0:28:21

0:28:25

-Yeah.

-Got a little bit more
for the spoon, that's the upside.

0:28:25

0:28:27

-Yes, yes, yeah.

-OK, that's fine.

0:28:27

0:28:30

And now for my favourite lot
of the entire day,

0:28:30

0:28:34

it has to be Pat's oil painting -

0:28:34

0:28:35

the three gentlemen
with the big marrow.

0:28:35

0:28:38

-The auctioneer gave me a wink on it
and he said he liked it.

-Very good.

0:28:38

0:28:43

-And he said somebody in America
was interested.

-Really?

-Yeah.

-Wow.

0:28:43

0:28:47

So hopefully we get the top end
and a bit more. This is it.

0:28:47

0:28:50

Lot 200. Absolutely stunning
oil painting, this.

0:28:52

0:28:56

Stunning.

0:28:56

0:28:57

He's selling things really well for
us, though. Bless him, he's good.

0:28:57

0:29:00

Typical 1930s, three guys in a pub
talking about a marrow.

0:29:00

0:29:06

LAUGHTER

0:29:06

0:29:09

I'm not being funny,
where you going to get another one?

0:29:09

0:29:12

That's true, isn't it?

0:29:12

0:29:14

And the bid's with me
at £60 on this.

0:29:14

0:29:17

Looking for 65. I've got 60.

0:29:17

0:29:19

-5, 70 here.

-Good, it's a bid in the room.

0:29:19

0:29:22

5, I need. 80, here. 85.

0:29:22

0:29:25

90, here. 95, 100.

0:29:25

0:29:28

And 10. 120, here.

0:29:28

0:29:31

130, 140, here. Looking for 150.

0:29:31

0:29:34

150, 160, here.

0:29:34

0:29:36

Looking for 170.

0:29:36

0:29:37

Are we all done? Last time.

0:29:37

0:29:39

On the three guys and a marrow.
At £160...

0:29:41

0:29:45

-Yes!

-So, 160, yes, that's a good
result.

-That's fantastic.

0:29:45

0:29:48

-That's good, isn't it?

-Really good.

0:29:48

0:29:50

Yeah, and I think someone's got
themselves a lovely piece of art.

0:29:50

0:29:54

190, 200, 210, 220, 230...

0:29:58

0:30:02

Karen's up next
with her tribesman figurine.

0:30:03

0:30:05

Karen, good luck with this.

0:30:05

0:30:06

We've seen many Franz Bergmann
bronzes on the show,

0:30:06

0:30:09

as you know,
and they never let us down.

0:30:09

0:30:11

-Yeah.

-It's quality.
OK, here we go, good luck.

0:30:11

0:30:13

Lot 280, painted bronze sculpture
of Middle Eastern warrior,

0:30:16

0:30:21

attributed to Franz Bergmann,

0:30:21

0:30:24

and it's got to start with a bid
with me of £120.

0:30:24

0:30:31

Looking for 130, 140, here.

0:30:31

0:30:34

Looking for 150 on this
cold-painted bronze.

0:30:34

0:30:38

-150.

-Oh, fabulous.

-Oh, yes.

0:30:38

0:30:41

Looking for 160.

0:30:41

0:30:44

160... 170 at the back of the room,
looking for 180.

0:30:44

0:30:47

180 on the phone, 190 at the back
of the room. Looking for 200.

0:30:47

0:30:51

There's somebody in the room,

0:30:51

0:30:53

-so that's always good,
that they've seen it as well.

-Yes.

0:30:53

0:30:55

210 at the back of the room,
looking for 220.

0:30:55

0:30:58

£210, 220, I need.

0:30:58

0:31:01

Are we all done?
£220 on the second phone.

0:31:01

0:31:04

£230 at the back of the room,
looking for 240. £240...

0:31:04

0:31:10

-See, it doesn't let us down.

-That's good.

-Phew.

0:31:10

0:31:12

-It is Bergmann, you know.

-Yeah.

0:31:12

0:31:14

270 at the back of the room,
looking for 280.

0:31:14

0:31:17

280, I need.

0:31:17

0:31:19

280 on... 290 at the back
of the room, looking for 300.

0:31:19

0:31:22

£300, I want.

0:31:22

0:31:24

£300 on the phone. 310...

0:31:24

0:31:26

-We're getting a bit more now, look.

-Yeah.

0:31:26

0:31:29

320, 330 at the back of the room.

0:31:29

0:31:31

Looking for 340.

0:31:31

0:31:33

340, 350, I need.

0:31:33

0:31:35

350, I've got. Looking for 360.

0:31:35

0:31:38

£360, 360 on the telephone,

0:31:38

0:31:41

looking for 370, are we all done?

0:31:41

0:31:44

At £360 on the telephone...

0:31:44

0:31:47

-Yes.

-Yes.

-Yes.

-Doesn't that hammer
go down with a lot of force? Crack!

0:31:47

0:31:51

It's just like a carpenter's mallet,
isn't it?

0:31:51

0:31:53

-Bosh!

-Really pleased with that.

-Look, that's a really good result,

0:31:53

0:31:56

-top end and a bit more.

-Yeah.

-Brilliant.

-Thank you very much.

0:31:56

0:31:59

Things are sailing along nicely
at the auction, and we'll be back

0:31:59

0:32:02

later on in the programme with
more items to go under the hammer,

0:32:02

0:32:06

but first,
I want to tell you about a dilemma

0:32:06

0:32:08

of astronomical proportions.

0:32:08

0:32:11

Life at sea in the 15th and 16th
centuries was extremely dangerous.

0:32:20

0:32:25

Sailors had started exploring
the high seas,

0:32:25

0:32:27

in search of new worlds,
but had no accurate way

0:32:27

0:32:31

of knowing their longitude -
their position east or west.

0:32:31

0:32:34

Maps were useless without being
sure of your location,

0:32:34

0:32:37

and ships often hit rocks,
causing thousands of deaths.

0:32:37

0:32:41

But when King Charles II realised
how serious the problem was,

0:32:45

0:32:48

he decided something must be done.

0:32:48

0:32:51

And by 1674, he was convinced
the solution lay in astronomy,

0:32:51

0:32:55

so he set up the Royal Observatory
in Greenwich to try

0:32:55

0:32:58

and solve the longitude problem,
and he made John Flamsteed

0:32:58

0:33:02

the first Astronomer Royal.

0:33:02

0:33:04

The first building here was
completed in 1675.

0:33:06

0:33:09

Flamsteed moved in
the following year

0:33:12

0:33:14

and started recording
star positions, hoping navigators

0:33:14

0:33:17

at sea could use this information
to work out their longitude.

0:33:17

0:33:21

But despite all of Flamsteed's
hard work to find

0:33:24

0:33:26

an astronomical solution,
more awful tragedies at sea

0:33:26

0:33:30

put pressure on the government
to find a quicker answer.

0:33:30

0:33:33

They appointed a panel of experts
called the Longitude Board,

0:33:33

0:33:36

who offered a £20,000 prize reward
to anybody who could solve

0:33:36

0:33:40

the problem of longitude at sea
within half a degree.

0:33:40

0:33:44

The prize attracted
a lot of interest,

0:33:44

0:33:47

and people throughout the world
tried to crack it.

0:33:47

0:33:50

Many thought the answer lay
in a device that told you how far

0:33:50

0:33:53

you were from a set point
in terms of time.

0:33:53

0:33:56

This is because the earth rotates
at 360 degrees every 24 hours,

0:33:57

0:34:03

so an hour of time is equal to 15
degrees difference in longitude.

0:34:03

0:34:08

So if you knew what the time was
at your original home port,

0:34:08

0:34:12

you could work out your position,

0:34:12

0:34:14

but no clock existed that could keep
accurate time at sea.

0:34:14

0:34:18

The treacherous conditions affected

0:34:18

0:34:20

the workings of
all clocks in existence.

0:34:20

0:34:24

It was actually a carpenter
who finally solved the problem.

0:34:24

0:34:27

John Harrison dedicated his life
to designing a timepiece

0:34:27

0:34:31

that could withstand
the rocking motions of a ship,

0:34:31

0:34:33

and the constant changes in
temperature without losing any time.

0:34:33

0:34:37

And after decades of research,
finally, in 1772, one of Harrison's

0:34:37

0:34:42

timepieces was successfully
trialled and approved by the Board.

0:34:42

0:34:46

Now, that clock that finally
nailed it, and you could say is

0:34:46

0:34:49

possibly the greatest timepiece ever
to be designed, is right here.

0:34:49

0:34:54

That's it there, look.

0:34:54

0:34:56

Harrison's masterpiece solved
the longitude problem,

0:34:56

0:34:59

and his invention saved
countless lives.

0:34:59

0:35:02

Important astronomical work
continued here at Greenwich,

0:35:05

0:35:08

with each Astronomer Royal
studying the sky at night,

0:35:08

0:35:11

using telescopes along a meridian -
a north-south line -

0:35:11

0:35:15

and by comparing
thousands of other observations

0:35:15

0:35:18

along the same meridian,
they pieced together

0:35:18

0:35:21

essential information for
navigators,

0:35:21

0:35:23

astronomers and cartographers.

0:35:23

0:35:26

Every time a better telescope
was developed,

0:35:26

0:35:28

it was placed on
a new meridian line.

0:35:28

0:35:31

Essentially, a meridian line
can be wherever you choose,

0:35:31

0:35:34

so there's a number
of old meridian lines here.

0:35:34

0:35:37

Now, up until the mid-19th century,

0:35:40

0:35:43

towns and cities around the world
kept local time.

0:35:43

0:35:46

Now, the discrepancy in time
didn't really matter

0:35:46

0:35:48

until the advent of the railways.

0:35:48

0:35:50

Once the rail network system linked
all these places together,

0:35:50

0:35:53

trying to write a timetable
that made any sense

0:35:53

0:35:56

was virtually impossible.

0:35:56

0:35:58

So in 1884, an international
conference was set up, where

0:35:58

0:36:01

delegates discussed which of
the half a dozen or so meridians

0:36:01

0:36:04

currently being used could be
recommended to their governments,

0:36:04

0:36:07

and eventually,
Greenwich was picked

0:36:07

0:36:09

for its widespread use of data
being produced here.

0:36:09

0:36:12

So not only am I standing
on the east and western hemispheres

0:36:12

0:36:16

right now,
I'm also at the very start of time.

0:36:16

0:36:19

So this is what the meridian line
looks like at night.

0:36:21

0:36:25

It's projected via a laser
into the capital's night sky,

0:36:25

0:36:28

and you can see it as far as
ten miles away on a clear night.

0:36:28

0:36:32

And there's something else here
that can be seen from afar,

0:36:34

0:36:37

and it's that,
the big red time ball.

0:36:37

0:36:39

It was used to help
sailors along the River Thames

0:36:39

0:36:42

during the 19th century,
because they could see it.

0:36:42

0:36:44

And every day, that big red ball
would rise up the mast

0:36:44

0:36:47

and then at 1pm, it would drop down.

0:36:47

0:36:49

So the navigators aboard the ships
could calibrate their chronometers

0:36:49

0:36:54

before setting out to sea.

0:36:54

0:36:55

It was first used in 1833,
and it still drops every day.

0:36:55

0:37:00

The sailors would have seen
something like this.

0:37:00

0:37:03

But of course, I couldn't visit the
Royal Observatory without showing

0:37:05

0:37:08

you its most impressive telescope,
and it is a bit of a whopper.

0:37:08

0:37:12

It's a refracting telescope,
and it uses a lens rather than

0:37:12

0:37:16

a mirror to focus and gather light
from the object being observed.

0:37:16

0:37:20

It's the largest
refracting telescope

0:37:20

0:37:22

in the United Kingdom, and it's
the seventh largest in the world.

0:37:22

0:37:26

The 28-inch lens weighs 200lbs,

0:37:32

0:37:35

and it was
so complicated to produce,

0:37:35

0:37:37

there were only two glassmakers
in the world capable of making it.

0:37:37

0:37:41

The telescope itself took
eight years to make,

0:37:41

0:37:44

and it was finally
completed in 1893.

0:37:44

0:37:47

The telescope was used for research
into double star systems -

0:37:48

0:37:52

that's stars that share
a common centre of gravity -

0:37:52

0:37:55

but nowadays, this remarkable
piece of technology is

0:37:55

0:37:58

used as an educational tool
for visitors.

0:37:58

0:38:01

By the late-19th century,

0:38:03

0:38:05

light pollution from the city
and vibration from trains

0:38:05

0:38:08

started to affect the good work
being done here at the observatory.

0:38:08

0:38:11

Plans were afoot to relocate in
the early part of the 20th century,

0:38:11

0:38:15

and again in the 1930s,

0:38:15

0:38:17

but that was interrupted
because of the Second World War.

0:38:17

0:38:20

The last observation to be done here
was made in 1954.

0:38:20

0:38:24

Further astronomical work
continued to flourish

0:38:24

0:38:27

at Herstmonceux Castle in Sussex,

0:38:27

0:38:30

but today, the Royal Observatory
is open to the public

0:38:30

0:38:33

and it's a fascinating insight into
early science,

0:38:33

0:38:36

and I hope my little visit today has
inspired you

0:38:36

0:38:39

to come and take a look for yourself
at this remarkable place.

0:38:39

0:38:42

We're at Dulwich College in London,
and our valuation day is bustling.

0:38:49

0:38:54

Kate's with Sue, who wants to find
out more about her childhood toy.

0:38:56

0:39:01

-Sue, welcome to "Flog It!".

-Thank you.

0:39:01

0:39:03

You've brought a really pretty doll
in. Now, what do you know about her?

0:39:03

0:39:07

Well, she was given to me in the
1950s, when I was a child,

0:39:07

0:39:11

-by the wife of
one of my father's Army pals.

-OK.

0:39:11

0:39:16

Her name was Audrey Smith,
and she worked at Chad Valley

0:39:16

0:39:20

-in Wellington, Shropshire,
in the 1930s.

-Really?

-So I...

0:39:20

0:39:24

With hindsight, I think
she probably dates from the 1930s

0:39:24

0:39:28

rather than the '50s, and she was so
beautiful I couldn't play with her.

0:39:28

0:39:35

-What?

-I just displayed her
and looked at her.

0:39:35

0:39:38

And the name I chose for her
was Caroline,

0:39:38

0:39:40

because it was the nicest name
I could think of.

0:39:40

0:39:43

Oh, well, she's lovely,
and she is, as you say, Chad Valley.

0:39:43

0:39:46

-Yes.

-And when we take her shoe off,

0:39:46

0:39:48

-she has the little Chad Valley label
on the bottom.

-She does, yes.

0:39:48

0:39:51

She's really pretty,
I can see why you liked her.

0:39:51

0:39:54

She's got, basically,
the Norah-Wellings-type face,

0:39:54

0:39:57

so this felt, hand-painted
over the top of felt face,

0:39:57

0:40:02

and then she's got this really
lovely little dress, little flowers.

0:40:02

0:40:06

She looks a bit wartime-bride,
doesn't she, I suppose?

0:40:06

0:40:08

She looks a bit more, you know,
I can see why 1950s,

0:40:08

0:40:11

-but I think she is dating a bit
earlier, as you say.

-Yes, yes.

0:40:11

0:40:13

-And you've got her original box.

-I have, yes.

0:40:13

0:40:17

And she's velvet or velveteen body,

0:40:17

0:40:19

and then other composite parts,
so calico and things.

0:40:19

0:40:22

-Yes.

-And rather sweet little dress.

0:40:22

0:40:24

Yeah, she's an interesting thing.
And it's brilliant to have it from

0:40:24

0:40:27

-somebody that worked at the factory.

-Yes, yes.

0:40:27

0:40:30

Chad Valley basically started out
as printers in the 19th century,

0:40:30

0:40:33

so they produced
all kinds of printed matter,

0:40:33

0:40:35

publishing things,
middle of the 19th century,

0:40:35

0:40:37

and then, basically, these...

0:40:37

0:40:39

They started producing soft toys
in the First World War,

0:40:39

0:40:41

because there was a ban
on soft toys,

0:40:41

0:40:43

who were mainly made in Germany
and the Continent,

0:40:43

0:40:45

-coming into Britain.

-Right, right, OK.

0:40:45

0:40:47

So, that sparked off their turning
to the soft toy market.

0:40:47

0:40:50

And they did a great job, I mean,

0:40:50

0:40:52

-they had artists like Norah Wellings
and people producing them.

-Yes, yes.

0:40:52

0:40:56

-You loved her.

-I did, I thought
she was very special and I still do,

0:40:56

0:41:00

but she's been up in the loft for
50 years and she has been chewed.

0:41:00

0:41:04

-I don't know whether you can see
she's been nibbled.

-Some little mice.

0:41:04

0:41:07

Well, she's obviously had this
fantastic bright pink dress

0:41:07

0:41:10

but it is a little, sort of,

0:41:10

0:41:12

-foxed, I suppose, and a bit faded.

-It's faded, yes, yes.

0:41:12

0:41:14

-But overall,
condition's really good.

-Yes.

0:41:14

0:41:16

-I mean, considering how old she is.

-For the age, yes.

0:41:16

0:41:18

There are lots of collectors and
her face is pretty good. Her hair...

0:41:18

0:41:21

She's got little mohair
bits of hair, here.

0:41:21

0:41:23

-That is falling out a little bit.

-Yes.

0:41:23

0:41:25

-But generally, she's pretty good.
So in terms of value...

-Yes.

0:41:25

0:41:29

I was thinking maybe, sort of,
£50-£100, something like that.

0:41:29

0:41:33

Is that the sort of figure
you'll be happy with?

0:41:33

0:41:35

I think 100 is probably a better...
a better bet. Can we...?

0:41:35

0:41:39

-Can we go for 100?

-Well, 100's always better than 50.

0:41:39

0:41:42

-I know.

-OK, well, you want it a bit higher.

0:41:42

0:41:44

Well, if we put a slightly higher
estimate,

0:41:44

0:41:46

-so 100-150?

-Yes, yes, I think so.

0:41:46

0:41:48

And maybe a fixed reserve
just below, so 80 fixed reserve.

0:41:48

0:41:51

Yes, I think
that's absolutely fine, yes.

0:41:51

0:41:53

-And you'd be happy to let it go
at that, if it went.

-I would, yes.

0:41:53

0:41:56

OK, sweet Caroline.
We hope she sells well at auction,

0:41:56

0:41:58

-I'm sure she'll do well.

-Yes, thank you. Thank you very much.

0:41:58

0:42:01

I hope we can find Caroline
a new owner

0:42:01

0:42:03

who will admire her
as much as Sue did.

0:42:03

0:42:06

Now, what on earth has Michael
got on his table?

0:42:06

0:42:09

Ian, thank you for coming, well,
struggling in today with this

0:42:09

0:42:13

massive heavy beast
of a candlestick.

0:42:13

0:42:16

Can you tell me,
where did you get it from?

0:42:16

0:42:19

What it is, basically,
is 20 years ago, my flatmate died

0:42:19

0:42:23

and he actually was left...

0:42:23

0:42:24

He was left, and I thought it was
out of character of the house,

0:42:24

0:42:27

so I've decided to get rid of it.

0:42:27

0:42:30

Well, if you're going to have
something in an Orientalist taste,

0:42:30

0:42:34

I mean, this is bells and whistles,
isn't it?

0:42:34

0:42:36

We've got this wonderful
Indonesian detailing.

0:42:36

0:42:40

We've got these dragon mouths
with the scrolls coming out,

0:42:40

0:42:43

forming the three tripod feet.

0:42:43

0:42:45

But if you move up, we've got this
lovely formal knop, and this vase

0:42:45

0:42:51

with these petals coming out,
and possibly a lotus flower.

0:42:51

0:42:54

It's not everybody's taste
but if you like the design of this,

0:42:54

0:42:59

it's got everything going for it.

0:42:59

0:43:01

What century would you say it was?

0:43:01

0:43:03

These aren't marked in any way so
we have to go by the patination,

0:43:03

0:43:08

and certainly,
the colour around these knops,

0:43:08

0:43:11

and the detailing here,

0:43:11

0:43:13

make me think that it's mid to late
19th century, so 1850 up to 1900.

0:43:13

0:43:20

Erm, there's been a little bit of
work, but we can forgive that.

0:43:20

0:43:24

The one thing we can't forgive

0:43:24

0:43:26

is we haven't got another one
to go with it,

0:43:26

0:43:29

because there's nothing sadder
than a single candlestick, so...

0:43:29

0:43:34

They are sometimes
quite difficult things to sell.

0:43:34

0:43:37

-Any idea what the value might be?

-I haven't a clue.

0:43:37

0:43:40

I think,
had we had a pair of them...

0:43:42

0:43:44

£150-£250, £200-£300,
with no difficulty at all.

0:43:44

0:43:50

But of course, a single one,
I think we're in the region of 50...

0:43:50

0:43:53

Let's be generous and say £50-£100.

0:43:53

0:43:57

-Yeah.

-But I would certainly
set the reserve

0:43:57

0:44:00

with a little bit of discretion,
at, say, 40 fixed.

0:44:00

0:44:03

And I think that's sensible,
and I think, if we proceed

0:44:03

0:44:06

along those lines, it's
an attractive purchase to somebody.

0:44:06

0:44:09

So... But why now have you decided
to part with it?

0:44:09

0:44:13

I need to get some money
to get married.

0:44:13

0:44:17

Oh, that's marvellous.

0:44:17

0:44:18

-Oh, it's going to good cause, then.

-It's going to a good cause.

0:44:18

0:44:22

Well, let's hope it does really well
on the day for you, in that case.

0:44:22

0:44:25

-Thanks.

-Thank you very much indeed.

0:44:25

0:44:28

That's a lovely way to spend
the proceeds.

0:44:28

0:44:30

I hope Ian gets a great result
to go towards his special day.

0:44:30

0:44:34

What a fabulous turnout
we have here today.

0:44:34

0:44:37

I think that's because it's half
term, it's the school holidays,

0:44:37

0:44:40

but hang on a minute, what are
you two doing back at school?

0:44:40

0:44:43

-Are you brother and sister?

-Yeah.

-Yeah.

-What's your name?

0:44:43

0:44:46

-Phoebe.

-Phoebe.

-Luke.

-Luke.

0:44:46

0:44:47

Right, well, I guess you're
obviously into antiques, are you?

0:44:47

0:44:50

We're just here with my grandmother,
over there.

0:44:50

0:44:53

-You're here with Grandma, she's
into the antiques, isn't she?

-Yeah.

0:44:53

0:44:56

-But this is quite a fine school,
isn't it?

-Yeah.

0:44:56

0:44:58

-You going to come here one day?

-Maybe.

-Maybe.

0:44:58

0:45:01

It's all go here, both in front of
and behind the cameras.

0:45:01

0:45:06

Kate's up next with Alan, who's come
along with something a bit fishy.

0:45:06

0:45:10

-Alan.

-Yeah, Kate.

-You have brought
a table lighter in.

-Yeah.

0:45:10

0:45:13

-What you know about it?

-It's a Dunhill.

0:45:13

0:45:16

Because it says
Dunhill on the front.

0:45:16

0:45:18

Yeah, exactly that,
and it's called an aquarium lighter.

0:45:18

0:45:21

-For obvious reasons.

-Yeah, cos it's a fish lighter.

0:45:21

0:45:24

Yup, OK, so where did you get it?

0:45:24

0:45:27

Belgium or Amsterdam
in the middle of the '70s.

0:45:27

0:45:31

Mid-'70s, so you just saw it
at an antiques fair or a store?

0:45:31

0:45:33

Yeah, on the old flea market things,
I think they call them.

0:45:33

0:45:36

-OK, and do you collect lighters, or
do you just...?

-No, no, no, no, no.

0:45:36

0:45:39

-No, it just caught my eye.

-You just liked it?

0:45:39

0:45:41

-Didn't come to a lot.

-And so since you've had it,

0:45:41

0:45:43

have you just had it on the table,

0:45:43

0:45:44

-or you've used it?

-No, no, just on a shelf.

0:45:44

0:45:46

Right, well, it's a fairly
collectable lighter as lighters go.

0:45:46

0:45:50

-Yeah.

-It is 1950s and it's probably
by a chap who worked for Dunhill

0:45:50

0:45:54

called Ben Shillingford,
and the reason we know this is

0:45:54

0:45:56

-because he pioneered this
use of what they call Lucite.

-Yeah.

0:45:56

0:45:59

-Which is like the American version
of our Bakelite.

-Right, yeah.

0:45:59

0:46:02

But Lucite - probably
cos it's clear, it's lucid -

0:46:02

0:46:04

so it's a clear plastic, basically,

0:46:04

0:46:05

-an early sort of plastic polymer.

-Yeah, yeah.

0:46:05

0:46:07

And what he did was,
these are single panels,

0:46:07

0:46:10

-so you've got front, back
and the two sides.

-Yeah.

0:46:10

0:46:12

Erm, and you've got this fantastic,
looking at it, aquarium scene,

0:46:12

0:46:15

-and he's basically carved it from
the back.

-Yeah.

-And then painted.

0:46:15

0:46:19

-Effective, isn't it?

-Now, it's quite fun,

0:46:19

0:46:21

it's not going to be
everyone's type of thing.

0:46:21

0:46:23

-I mean, have you done any research
on it yourself?

-I have.

0:46:23

0:46:26

-Right.

-I've seen them on
the internet.

-Right.

0:46:26

0:46:28

Right, and I've seen them going for

0:46:28

0:46:30

-9 to 15, up to 1,600 quid.

-£1,600.

-Yeah.

0:46:30

0:46:35

-For this type of lighter?

-Yeah, yeah, yeah.

-Right.

0:46:35

0:46:38

There are collectors out there.
Obviously Dunhill is

0:46:38

0:46:40

a very good maker of
luxury goods, as well,

0:46:40

0:46:43

starting from the 1900s onwards.

0:46:43

0:46:44

Erm... I'm not sure,

0:46:44

0:46:46

I think that might be a bit punchy
for auction.

0:46:46

0:46:49

-Right.

-I was thinking 600-800

0:46:49

0:46:50

but it sounds like you might be
a bit gutted with that.

0:46:50

0:46:52

-Oh, without a doubt, yeah.

-Well, how if we compromise,

0:46:52

0:46:55

if we put a slightly higher
estimate, maybe 800-1,000?

0:46:55

0:46:59

Well, that sounds a lot better, yeah.

0:46:59

0:47:00

-Which will be inviting for
potential buyers.

-Yeah.

0:47:00

0:47:02

-But put a reserve
that's fixed at £800.

-Yeah.

0:47:02

0:47:05

-Would you be OK with that?

-Yeah, that sounds OK.

0:47:05

0:47:07

-I think it will...it
will find its own level.

-Right.

0:47:07

0:47:09

-It'll make at least 800
or it won't sell.

-Yeah.

0:47:09

0:47:12

So let's have fingers crossed,
firm reserve at 800,

0:47:12

0:47:15

-estimate 800-1,000.

-Right, right.

-All right?

-That sounds all right.

0:47:15

0:47:18

-Brilliant, well, we'll give it a go.

-OK.

-Thanks for bringing it in.

-OK.

0:47:18

0:47:22

I bet that'll be snapped up
by someone at the auction,

0:47:22

0:47:25

and we've just got time
for one more item,

0:47:25

0:47:27

and it's right up Michael's street -
a glass vase brought in by Jean.

0:47:27

0:47:31

Jean, where did you get this darling
little vase from?

0:47:32

0:47:36

-Jumble sale.

-Not recently.

0:47:36

0:47:39

-1980-ish.

-1980.

0:47:39

0:47:41

Now, I'm going to say,
"How much did you pay for it?"

0:47:41

0:47:43

but I'm going to brace myself.

0:47:43

0:47:45

Well, they originally
were going to charge me 50p.

0:47:45

0:47:47

-Originally?

-Originally, but then
they decided to charge me 25p.

0:47:47

0:47:51

Was that under duress
or did they just...?

0:47:51

0:47:53

No, no, they just changed their mind.

0:47:53

0:47:55

-Oh, sometimes you wish you had
a time machine, Jean.

-Hmm.

0:47:55

0:47:58

I wish I could build one.
Did you...?

0:47:58

0:48:00

Did you buy it
because you liked it or...?

0:48:00

0:48:02

-Something told me that it was
something special.

-Oh, really?

0:48:02

0:48:05

Almost looked Chinese-y decorations,
but I didn't think it was Chinese.

0:48:05

0:48:09

-So you just had a feeling about it?

-Mmm, it just felt right.

0:48:09

0:48:12

I think that you've actually bought,
to my eyes,

0:48:12

0:48:15

a really beautiful
little glass vase.

0:48:15

0:48:19

And if we look at it more carefully,

0:48:19

0:48:21

sadly, not marked or inscribed
in any way,

0:48:21

0:48:24

but you could say that this glass
was marked all over,

0:48:24

0:48:28

-in the way that it's executed.

-Right.

0:48:28

0:48:30

We've got this beautiful,
almost satin...glass ground,

0:48:30

0:48:35

which has then been dipped
in white glass,

0:48:35

0:48:38

and then the whole thing has been
carved back on a wheel.

0:48:38

0:48:42

And you've just got to take
just enough off, just enough,

0:48:42

0:48:45

cos that's a very smooth,
even surface.

0:48:45

0:48:48

That's a phenomenal bit of work.

0:48:48

0:48:50

Now, it could have been made
in France

0:48:50

0:48:54

by a firm such as
Emile Galle, or Daum,

0:48:54

0:48:58

but if this vase spoke, it would
speak with my native accent.

0:48:58

0:49:02

-IN WEST MIDLANDS ACCENT:

-It would say, "Hello, Jean."

0:49:02

0:49:04

-Because this is actually from
Stourbridge...

-Right.

0:49:04

0:49:07

..which is just outside,
on the outskirts of Birmingham,

0:49:07

0:49:10

and it was
a major centre for glass working.

0:49:10

0:49:13

This is almost certainly
from the workshop of Thomas Webb,

0:49:13

0:49:17

who specialised in this
immaculate quality cameo glass.

0:49:17

0:49:23

The design we've got, actually,
is... When you first said you

0:49:23

0:49:26

thought it was a bit Chinese,

0:49:26

0:49:27

-it's actually inspired by Chinese
design...

-Mm-hmm.

0:49:27

0:49:30

-Ah.

-..and they're called
the Three Friends,

0:49:30

0:49:33

and you've got cherry blossom,
prunus and bamboo.

0:49:33

0:49:39

-Ooh.

-And they're all together
emblematic of long life.

0:49:39

0:49:43

I think in terms of date,
we're possibly as early as 1880,

0:49:43

0:49:49

possibly as late as 1890, 1895.

0:49:49

0:49:52

And it's survived
in miraculously good condition.

0:49:52

0:49:56

Well, has your 25p
been a good investment?

0:49:56

0:50:01

I'd like to know.

0:50:01

0:50:03

I think we should be sensible

0:50:03

0:50:05

and put an estimate of £600-£800
on it.

0:50:05

0:50:08

-Really?

-And put a fixed reserve of £600.

0:50:08

0:50:11

-All right.

-Webb's cameo glass is
extremely collectable.

0:50:12

0:50:17

But can I ask you now,
after living with it for 30 years,

0:50:17

0:50:21

why have you decided to sell?

0:50:21

0:50:24

I took early retirement in January,

0:50:24

0:50:26

and I've got a house full of things
that I've got to start sorting out.

0:50:26

0:50:32

It's a small step towards it.

0:50:32

0:50:35

-It's a small step
in terms of size...

-Mm-hmm.

0:50:35

0:50:39

..but a big step financially,
I hope.

0:50:39

0:50:42

-That'd be lovely.

-So let's hope for
lot of bidders at the sale,

0:50:42

0:50:45

and that it really does well.

0:50:45

0:50:46

-Thank you.

-Thank you so much.

0:50:46

0:50:48

And now for my favourite part
of the show -

0:50:48

0:50:50

let's head straight to the auction
and see what the bidders think,

0:50:50

0:50:54

and this is what we're taking.

0:50:54

0:50:56

And that pretty doll that belongs to
Sue is about to go under the hammer.

0:50:59

0:51:03

Well, we have the doll.
Unfortunately, we don't have

0:51:03

0:51:05

the owner, Sue,
but we do have Sue's husband, Steve,

0:51:05

0:51:08

who's right next to me.

0:51:08

0:51:09

So, you're obviously not a doll fan,

0:51:09

0:51:11

-otherwise this would be staying
in the house, wouldn't it?

-Yes.

0:51:11

0:51:13

-Well, yeah, quite possibly, yes, yes.

-OK, happy with the valuation?

0:51:13

0:51:16

-Oh, absolutely, yeah, yeah.

-Spot on,
I think. Spot on.

-Well, I hope so.

0:51:16

0:51:19

I mean, there might be collectors
here today,

0:51:19

0:51:21

-you just can't tell, so...

-No.

-Yeah.

-We're going to find out right now.

0:51:21

0:51:24

Lot 141 is the vintage
Chad Valley textile doll

0:51:26

0:51:31

-with original clothing...

-Come on.

0:51:31

0:51:33

..and it's got to start

0:51:33

0:51:34

with a bid with me of £72.

0:51:34

0:51:37

Looking for 75
on the Chad Valley doll,

0:51:37

0:51:40

it's worth more than that,
5, 8, with me. Looking for 80.

0:51:40

0:51:43

-I'm looking for £80...

-We're struggling a bit, aren't we?

0:51:43

0:51:46

Oh, I don't know.

0:51:46

0:51:47

Last time, at £78...

0:51:47

0:51:50

-Oh, no.

-No, no, thank goodness
we put a reserve on.

0:51:50

0:51:53

-You protected it.

-Well...

-So...

-You did the right thing.

-Yes.

0:51:53

0:51:56

-It can go into another sale another
day, so, yeah.

-Yeah, yeah.

0:51:56

0:51:59

Well, that's a real shame for Sue,

0:51:59

0:52:01

but let's hope for
better luck next time.

0:52:01

0:52:03

It just goes to show, you never know
what's going to happen at auction.

0:52:03

0:52:07

Let's see how Ian gets on
with an unusual candlestick.

0:52:07

0:52:11

Well, all the money for this lot
is going towards Ian's wedding,

0:52:12

0:52:15

and he's right next to me.

0:52:15

0:52:16

He's really excited,
excited about the wedding,

0:52:16

0:52:18

-but probably nervous
about this auction.

-Correct.

0:52:18

0:52:21

Yes, yeah, yeah, we've got
that sort of carved single metal

0:52:21

0:52:23

candlestick going under the hammer,
£50-£100.

0:52:23

0:52:26

It's got all
the flavours of the Orient.

0:52:26

0:52:28

It's got so much detail to it.

0:52:28

0:52:30

-It has, and that whole period
is in vogue right now.

-It is.

0:52:30

0:52:33

That whole look, so hopefully, Ian,

0:52:33

0:52:35

you've hit that market
at the right time.

0:52:35

0:52:38

It's a chance, all you need is
two people interested.

0:52:38

0:52:41

He knows the score. Well, let's
find out what the bidders think.

0:52:41

0:52:44

It's now down to them, here we go...

0:52:44

0:52:46

Oriental cast-metal bronzed
and gilt effect candleholder.

0:52:47

0:52:50

Great lot, this. Bid's with me
straight away at £45.

0:52:50

0:52:54

-Brilliant.

-Straight in.

-That's good.

0:52:54

0:52:57

45, 48, £50. 55, £60.

0:52:57

0:53:00

65, £70.

0:53:00

0:53:02

75, 80, with me.

0:53:02

0:53:04

-Looking for 85. 90, with me.

-This
is very, very good. They love it.

0:53:04

0:53:08

Looking for 110 on this.
Are we all done?

0:53:08

0:53:10

Last time, at £100...

0:53:10

0:53:12

-Yes. A nice £100.

-That'll be good.

-Got to be happy with that.

0:53:12

0:53:16

-What's the good lady called?

-Rosella.

0:53:16

0:53:18

And how long have you know her?

0:53:18

0:53:20

About a year-and-a-half, but we were
friends for six months before,

0:53:20

0:53:23

and then she went back to Florida
and we're just together again.

0:53:23

0:53:25

-Aw, love is in the air.
Have a great day, won't you?

-Thanks.

0:53:25

0:53:29

-And well done, Michael.

-Thank you.

0:53:29

0:53:31

Let's watch
Jean's piece of cameo glass.

0:53:33

0:53:36

Will it find the right buyer here?

0:53:36

0:53:38

It's Jean's turn next.

0:53:38

0:53:40

Let's talk about that
cameo glass vase at £600-800.

0:53:40

0:53:43

Had a chat
to the auctioneer yesterday,

0:53:43

0:53:45

he said he agrees with the value

0:53:45

0:53:47

but possibly at the lower end,
not at the top end.

0:53:47

0:53:49

Right, that's fine, but, I mean,

0:53:49

0:53:51

it is that great name Thomas Webb -
a great name in English glass.

0:53:51

0:53:55

Yeah, and the great thing is,

0:53:55

0:53:56

-it only cost 25p, didn't it?

-This is true.

0:53:56

0:53:59

So let's do some recycling,
shall we? Right now, here we go...

0:53:59

0:54:02

And the cameo glass bud vase

0:54:04

0:54:06

with a white raised plant
and foliage relief,

0:54:06

0:54:09

attributed to Thomas Webb,
dated around 1880s,

0:54:09

0:54:14

and it's got a start with a
bid with me of £150 on this vase.

0:54:14

0:54:19

-Ooh, that's low, isn't it?

-Looking for 160, 70 with me.

0:54:19

0:54:22

Looking for 180.

0:54:22

0:54:23

-No commission bids, then.

-No.

0:54:23

0:54:25

190 with me.

0:54:25

0:54:26

200, 210 here. Looking for 220.

0:54:26

0:54:29

Are we all done?
Last time, at £210...

0:54:31

0:54:36

-No. I'm ever so sorry about that.

-Oh, it doesn't matter.

0:54:36

0:54:39

-I'm glad to take it home.

-Can you hear that?

0:54:39

0:54:42

It's Thomas Webb collectors that
didn't know

0:54:42

0:54:44

it was coming up for sale, screaming
at their television screens.

0:54:44

0:54:47

There are specialist sales
for glass in the Stourbridge area.

0:54:47

0:54:51

And if you want to sell it -

0:54:51

0:54:53

if you decide now that you love
it, you keep it - but if you

0:54:53

0:54:56

want to sell it, take it to one of
those specialist sales.

0:54:56

0:54:58

It's £600 to £800 - I know
I say this a lot - all day long.

0:54:58

0:55:01

Yeah, good, sound advice there.

0:55:01

0:55:04

And now
it's our final item in today's sale.

0:55:04

0:55:08

It's the Dunhill lighter, the
aquarium lighter, belonging to Alan.

0:55:08

0:55:12

We've got a valuation of £800
to £1,000.

0:55:12

0:55:14

We're going to find out what the
bidders think right now.

0:55:14

0:55:18

It's lot 510, it's the early
to mid-20th-century

0:55:19

0:55:22

Dunhill aquarium table lighter,

0:55:22

0:55:24

and it's got to start with a bid
with me of £550 on this lighter.

0:55:24

0:55:30

Looking for 600.

0:55:30

0:55:32

50 with me, 700. 750.

0:55:32

0:55:35

800, I'm out.

0:55:35

0:55:37

820 on the telephone.

0:55:37

0:55:39

850 in the room.

0:55:39

0:55:41

880 I want.

0:55:41

0:55:42

-880 I have.

-Ooh, there's a phone bidder, Alan.

0:55:42

0:55:45

-Yes.

-Come on, 900.

0:55:45

0:55:47

910 I want.

0:55:47

0:55:49

910, and 20 in the room.

0:55:49

0:55:51

930, 940 in the room.

0:55:51

0:55:54

-950 I want.

-It's moving, isn't it?

0:55:54

0:55:55

It's moving, yep.

0:55:55

0:55:57

950 on the telephone,
960 in the room.

0:55:57

0:55:59

Looking for 970.

0:55:59

0:56:00

970 I've got.

0:56:00

0:56:02

-980 in the room.

-Let's get that magic £1,000.

0:56:02

0:56:05

-£1,000.

-Yes!

-It's done it.

-Come on!

0:56:05

0:56:09

Take 1,010.

0:56:09

0:56:11

£1,010, 1,020.

0:56:11

0:56:14

1,030 I've got - have I?

0:56:14

0:56:17

1,030, 1,040.

0:56:17

0:56:20

Looking for 1,050.

0:56:20

0:56:22

1,050, 1,060,

0:56:22

0:56:25

1,070, 1,080.

0:56:25

0:56:28

I love it
when a plan comes together.

0:56:28

0:56:30

-Good lighter, isn't it, eh?

-£1,100.

0:56:30

0:56:32

1,110 I want.

0:56:32

0:56:34

£1,110, 1,120.

0:56:34

0:56:37

-1,130, 1,140.

-He doesn't look
like he's stopping either,

0:56:37

0:56:40

he's just going for it.

0:56:40

0:56:42

1,170, 1,180,

0:56:42

0:56:45

1,190, 1,200. And ten.

0:56:45

0:56:49

1,220, 1,230,

0:56:49

0:56:52

1,240, 1,250,

0:56:52

0:56:54

1,260, 1,270,

0:56:54

0:56:57

1,280, 1,290.

0:56:57

0:56:59

1,300, and ten I need.

0:56:59

0:57:01

This is a great result, 13.

0:57:01

0:57:03

1,320, 1,330, 1,340.

0:57:03

0:57:07

1,350, 1,360,

0:57:07

0:57:10

1,370, 1,380, 1,390.

0:57:10

0:57:14

1,400, and ten I need.

0:57:14

0:57:17

£1,410

0:57:17

0:57:18

-Alan, that's very good,
isn't it?

-Well, yeah.

0:57:18

0:57:21

1,440, 1,450,

0:57:21

0:57:24

1,460, 1,470,

0:57:24

0:57:27

1,480, 1,490.

0:57:27

0:57:30

1,500, and ten.

0:57:30

0:57:32

1,510, looking for 1,520.

0:57:32

0:57:34

Are we all done? Last time,
on the telephone at £1,510.

0:57:34

0:57:39

Yes!

0:57:39

0:57:41

-£1,510!

-Oh, right.

0:57:41

0:57:43

Alan, that is tops!
Tops, tops, tops!

0:57:43

0:57:47

I remember saying to you when I saw
that at the valuation day,

0:57:47

0:57:50

-1,200 quid, didn't I?

-Yeah, yeah.

0:57:50

0:57:52

Wow. Wow, Kate, isn't that a
fabulous result?

0:57:52

0:57:54

-Six to eight, you said, Kate.

-What was I?

-Six to eight.

-Did I?

0:57:54

0:57:57

Well, that's good -
you've got to start somewhere.

0:57:57

0:58:00

I like to keep expectations low
and build the suspense.

0:58:00

0:58:03

Exactly, exactly. What a lovely
result. I hope you enjoyed that.

0:58:03

0:58:08

We certainly have.

0:58:08

0:58:09

Sadly,
we've run out of time here today,

0:58:09

0:58:11

but do join us
again for many more surprises.

0:58:11

0:58:13

So, from Greenwich,
until the next time, it's goodbye.

0:58:13

0:58:17

Presenter Paul Martin and experts Kate Bateman and Michael Baggott visit the impressive Dulwich College in south London, where Michael finds an unusual oriental candlestick and Kate has a big surprise in the saleroom.

A few miles away, Paul explores the Royal Observatory, Greenwich, and tells the remarkable story of how one of the timekeepers there saved countless lives.